In conclusion, then, I am arguing that, despite the narrative I opened this piece with, it is not
possible to state that football writing is in holistically rude health. While certain forms of media are
publishing excellent writing, largely online or in smaller scale print media like The Blizzard, this
“everything is better” narrative is a product of the group producing this writing; a recognition of
their own quality that often effaces or ignores any other football writing in a way that is quite
unrealistic. It is worth saying that Adorno also makes a very good point that to criticise the culture
industry often leaves one open to accusations of “taking refuge in arrogant esoterica”. However, he
also strongly asserts: “to take the culture industry as seriously as its unquestioned role demands,
means to take it seriously critically, and not to cower in the face of its monopolistic power”. This is
what I am trying to do.
If we, as football writers and consumers, are to accept our own claims that football writing is now as
varied and interesting as it ever was, and I am not saying that it is not better, we must also never
forget that this instantiation of pr